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Music From Big Pink

Music From Big Pink

The Band's 1968 debut, Music From Big Pink was released at the height of the psychedelic revolution and its earthy and more roots oriented sound turned the music world on its ear. Considered to be the group's most democratic effort before Robbie Robertson would emerge as the ensemble's leader, the 11 song set features songs from Robertson, bassist Rick Danko, pianist Richard Manuel and Bob Dylan. The album is arguably the purest distillation of the Band and in many ways, their preeminent recording. Music From Big Pink's rustic beauty and fresh blend of country, rock, folk and classical R&B made it an instant homespun classic and a crowning achievement. Includes one of the Band's best known originals in The Weight.

1. Tears of Rage2. To Kingdom Come3. In a Station4. Caledonia Mission5. The Weight6. We Can Talk7. Long Black Veil8. Chest Fever9. Lonesome Suzie10. This Wheel's On Fire11. I Shall Be Released

Pink Friday: Roman Reloaded

Nicki Minaj is a fast rising Tinidadian-born American hip-hop artist. After releasing three mixtapes between 2007 and 2009, Minaj signed to Young Money Entertainment in 2009. After signing to Lil Wayne's label, Nicki released her debut album, Pink Friday in November of 2010. Pink Friday peaked at #1 on the Billboard 200 and went platinum a month after its original release. Minaj became the first female solo artist to have seven singles on the Billboard Hot 100 at the same time.

Since the release of her debut, Nicki Minaj has become a true superstar accumulating massive amounts of awards and accolades in the process. Her follow-up album Pink Friday...Roman Reloaded is one of the most eagerly anticipated releases of 2012. Although Pink Friday...Roman Reloaded shares part of its title with its predecessor, the album is a collection of entirely new material including the preceding hit singles Starships, Right By My Side and Beez in the Trap. Features guest appearances from the likes of Cam'ron, Rick Ross, Chainz, Lil Wayne, Nas, Drake, Young Jeezy, Chris Brown, Bobby V and Beenie Man.

I've never had this much fun recording music in my life. My first album I was very guarded. I felt like I was making music to please everyone else. I had to be politically correct, but this album I am just creating music, and there's such a big difference. Literally in the studio we were cracking up laughing, having fun, and enjoying ourselves. The music itself you're going to get every side that I've ever shown and then a little bit extra. I've tried to make it very, very balanced, because I don't ever want to be boxed in, and that's always what drives me. So I made a very diverse album. - Nicki Minaj

LP11. Roman Holiday2. Come On A Cone3. I Am Your Leader4. Beez In The Trap5. HOV Lane6. Roman Reloaded7. Champion8. Right By My Side9. Sex In The Lounge10. Starships

Dear Bo Jackson

Serpents and Snakes is proud to announce the release of The Weeks full-length label debut, Dear Bo Jackson, the eagerly anticipated follow-up to their critically-praised EP, Gutter Gaunt Gangster.

The album was recorded with Grammy Award-nominated producer / engineer Paul Moak at his Nashville studio, The Smoakstack. Drawing inspiration from such iconic works as The Band's Music From The Big Pink, The Weeks enriched their well-seasoned sonic stew with the classic flavors of soul, R&B, funk, and heavy boogie to create their own unique take on contemporary Southern rock. Big brass, lush strings, and twangy pedal steel have been fused into the bands trademark sludge-pop sound, with Sam Williams' greasy guitars, the highly charged engine room of bassist Damien Bone and drummer Cain Barnes now officially joined by master keyboardist Alex Admiral Collier.

Throughout the album, songs like Brother In The Night and the exuberant title track see Cyle Barnes rending his throat raw as he tells dramatic and truthful tales of modern Southern lives, full of hope despite often punishing circumstances. Dear Bo Jackson shows The Weeks to be not unlike the legendary athlete of the albums title: indisputable all-stars, capable of just about anything.

Future This

Running in at 10-tracks and 45 minutes, Future This commands your attention from start to finish. Opener and first single, Stay Gold, is a track written about doing what makes you happy, so immediate you could be forgiven for thinking theyve not been away. From there, the album is paced perfectly, with future live anthems (Rubbernecking, 1313, Jump Music), counterbalanced with a set of songs that show a more subtle side (Hit The Ground (Superman), Give It Up and title track Future This).

Each song has its own message, mostly positive, and help highlight Robbie Furze's progress as both a lyricist and singer. By the time you reach album closer, the mournful 77, its already demanding repeat visits. With graffiti a recurrent theme, the band wanted the finishing touches to Future This to lie with the celebrated artist KR (the man behind Krink), who by used his distinct paint style to give the albums sleeve a fresh update on the legacy of 4AD's record design. Future This sounds like an album theyve enjoyed making, showing they still have a hunger, are still delivering on that early promise and are always looking forward.

Includes This Wheels on Fire, You Aint Goin Nowhere, Tears of Rage, Million Dollar Bash, Yazoo Street Scandal

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and Blood on the Tracks Also Available from Mobile Fidelity

Basements have long been associated with raw, off-the-cuff rock n roll, the damp and dark spaces serving as the woodshedding venues for countless bands. Yet no basement is more famous, and none yielded music as familiarly weird, wholesomely American, joyously loose, and identifiably humorous as that in the upstate New York house dubbed Big Pink the location where, during the summer and early fall of 1967, Bob Dylan and The Band played a vivid tapestry of covers, originals, and traditionals that signaled the advent of Americana. Once again, the Bard changed the world.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of The Basement Tapes ever produced and the first-ever analog reissue. Inimitable, the particulars of The Basement Tapes especially, the gather-round-in-a-huddle assembly of the instrumentalists, home-made character, domestic vibe, and low-volume nature of the recordings come to fore here in a manner that takes the listener down the stairs at 2188 Stoll Road and brings the images of Dylan, Rick Danko, Robbie Robertson, and Co. to life.

Fresh off experiencing a motorcycle accident and the wrath of audiences hostile to his embrace of amplified music, Dylan elected to retreat to the comforts of rural and family life. He soon began collaborating with members of the Band in his house, ultimately moving the sessions to Big Pink. Informal, peaceful, relaxed, open-minded: The collaborations blanket country stomps, roots hootenannies, forgotten spirituals, earthy originals, chaotic marches, dreamscapes, dance tunes, folk laments, catch-as-you-can improvisations. On The Basement Tapes, mythical ghosts and dead legends reappear, reveling in the absurdity, comedy, mystery, aura, and alchemy.

In Invisible Republic, his scintillating book about the sessions, cultural critic Greil Marcus states: At a time when the country was tearing itself apart in a war at home over a war abroad, the music was funny and comforting; it was also strange, and somehow incomplete. Out of some odd displacement of art and time, the music seemed both transparent and inexplicable when it was first heard, and it still does. Indeed, The Basement Tapes appear to emanate from an indefinable chasm between modern and ancient, self-evident and mysterious, shapeless and fully formed, abstract and concrete, histories unwritten and chronicled. But every note chimes with freenessa liberating fun, humble simplicity, and bond-creating camaraderie felt in every hoot, holler, laugh, and false start.

The Basement Tapes capacity to remain so gloriously honest and timeless performances that genuinely could've been made today, ten years from now, or back in the 1930's helps account for their emotional resonance and unsurpassed reputation as a snapshot of how unencumbered American music, and art with deep historical roots and connective cultural tissues, is supposed to sound.

Mobile Fidelity's reissue squares away the late-night bleariness, jovial atmosphere, low-ceiling dimensions, and ensemble-based perspective of the sessions, allowing the listener to become Hamlet, the dog who slept nearby Dylan, Robertson, and Co. as it all went down. This is not to be missed.

Given the sonic and artistic merit of this album, we anticipate huge demand.

CBGB: Original Motion Picture Soundtrack

WATCH OUT! PUNK IS COMING!

By the end of 1973, New York City was bankrupt, Watergate had compromised the credibility of the U.S. government, and the Carpenters were the bestsellingyoung recording act in America. Rock 'n' roll was dead!

Enter Hilly Kristal, who dreamed of running a country & blues bar in the Bowery. Instead, the club he opened, CBGB (Country, Bluegrass, Blues) becamethe birthplace of punk and underground music. CBGB was the modern-day salon for the disenfranchised youth of New York City and Kristal gave theseyoung local bands a stage. Artists such as the Talking Heads, Blondie, Patti Smith, Ramones, Dead Boys and Television all started at this iconic club.

The story of Hilly Kristal and his legendary club will be coming to theaters this October when CBGB hits the big screen. The film has an all-star ensemble cast headed by Alan Rickman (the Harry Potter series, Die Hard) who plays Kristal. Co-starring with Rickman will be Malin Akerman (The Proposal,Suburgatory), Ryan Hurst (Sons Of Anarchy), Ashley Greene (The Twilight series), Johnny Galecki (The Big Bang Theory), Stana Katic (Castle) andRupert Grint (the Harry Potter series).

Omnivore Recordings is proud to present CBGB: Original Motion Picture Soundtrack on CD and naturally, double-LP (with first pressing on translucentpink vinyl). An essential collection of songs that made the punk movement, CBGB presents twenty slices of original American music, many rarelycompiled or unavailable for years. The soundtrack contains music from influential artists that informed the scene (The Velvet Underground, The Stoogesand MC5), to acts that broke through with huge commercial acclaim (Talking Heads, Blondie and The Police). And there's even music from bands whoselegendary status will forever be linked to the club that gave them a voice (Dead Boys, Television. Wayne County, The Dictators and more).

Filth (Awaiting Repress)

First Authorized Vinyl Edition Of 1983 Debut Studio Album In 25 Years

Re-Mastered With Original Cover Art

"This is all slabs of sound, rhythm and screaming/testifying. What more do you need? In a way, it was a reaction against Punk (and just about any other music you can think of), and the conservative notion that 3 chords were somehow necessary. I used to deny it vehemently at the time, but No Wave (I "hated" that scene too, for some reason I can't remember now) played a big role as the germ from which this music grew, along with The Stooges and Throbbing Gristle, of course. I wanted Swans to be "heavier" though - I wanted the music to obliterate - why, I don't remember! I think it just felt good. Live, we used two basses (playing utterly unmusical chords that were stabbed and left to sustain or sometimes hit in staccato or opposing rhythms), drums, a "percussionist" that slammed down on a metal table with a metal strap, crude cassette loops of various sounds/noises (usually some kind of undefined ROAR), and Norman Westberg's glorious sustained and screaming guitar chords. It was pretty elating to play live - for us. If 100 people showed up (which would have been a huge audience at the time - 20 was more the average), 80 were guaranteed to leave by the second song. Somehow that tension - contempt or indifference from the audience - was nourishing, so we kept going.

Here's some music I was listening to at the time: Throbbing Gristle, Psychic TV, The Stooges, Brian Eno, Teenage Jesus And The Jerks, DNA, The Contortions, Glenn Branca, Black Flag, early Pink Floyd, This Heat, Kraftwerk, The Germs, Cabaret Voltaire, Can, Public Image LTD., SPK "

Strong Feelings

With the kind of understatement that's typical of the man, Doug Paisley describes his wondrous new album Strong Feelings as, "just 10 new songs. It's a lot less simple and unadorned than other recordings I've made, but it's just as earnest and straightforward." This is all in keeping with the Toronto songwriter's low-key approach to his art, preferring to let his songs speak for themselves. A fact borne out by the nature of the effusive praise given to Paisley's last effort, 2010's Constant Companion.

Strong Feelings expands on that albums preoccupations, but this time Paisley has also opened up the sound - tunes like "A Song My Love Can Sing" and "It's Not Too Late (To Say Goodbye)" find Paisley crooning like a seasoned country veteran, his voice crumpled with the same weary heartache as Don Williams or Hoyt Axton in their prime. The steady tick of "Our Love", meanwhile, with its folksy grain and unfussy guitar, already feels like a classic Nashville ballad. The rockist "To And Fro" conjures visions of the open prairies, all golden skies and roving antelopes, essayed by warm electric guitar and a sort-of-boogie chug, while "Growing Souls" could be Dylan kicking back with The Band on an old spiritual in Big Pink's basement.

Strong Feelings is an album that tries to articulate the speech of the heart in universal terms. One of its key tunes, "Radio Girl", can even be taken as a microcosm of Paisley's overarching theme. "It draws on some of the things people derive from their relationships with music and with musicians: longing, comfort, intensity, importance," he expounds. "I try to always be working in service to the songs I've written.

Getaway

2001's Getaway may be the best illustration of whatever mercurial, inexplicable musical power animates The Clean. After the band's initial rush of activity between 1978 and 1982, the trio lay dormant until the end of the '80s, when a string of reunion shows inspired the Kilgours and Scott to start recording again. After three well-received albums in the first half of the nineties-1990's Vehicle, 1994's Modern Rock, and 1996's Unknown Country-The Clean disappeared again until the end of the decade, when another tour inspired another record.

While playing gigs across New Zealand in celebration of their original label Flying Nun, David says they brought along a TEAC 4-track quarter-inch tape machine. "As usual, we started jamming and recording, and before you know, we thought we may be onto an LP." Speed and spontaneity ended up defining Getaway. Robert says, "I remember writing 'Silence or Something Else' while the others went for a long walk. It was done by the time they got back. I probably would have gone for a straighter version, but I still like it." David remembers, "Hamish wrote the instrumental 'Jala' in about five minutes in a motel outside of Turangi." At one point in the process, Yo La Tengo's Ira Kaplan and Georgia Hubley were visiting from America, and they ended up on the record too. Getaway came out in August of 2001, with cover art by Hamish who says that his original artwork was the actual size of a compact disc case. After that, The Clean set out on another tour-including in New York City, where they happened to be during the terrorist attacks on 9/11. They coped with the tragedy by playing gigs with their American friends, and staying in the same creative space they'd been in since before they started working on the album. "I remember we did some great gigs on the New Zealand tour, debuting some of the new material," Hamish says. "'Stars' was a favorite for the big 12-string sound."

A live version of the pulsing, soaring "Stars"-along with a couple of other Getaway songs and Clean classics like "Fish," "Side On," "Quickstep," and "Point That Thing Somewhere Else"-appear on the rare 2003 album Syd's Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund, from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct. Indeed, they've done justice to a key album in The Clean discography-a record that honors the band's origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing "Crazy," the jaunty acoustic snippet "Cell Block No. 5," and the trance-inducing "Circle Canyon" are more fine examples of Scott and the Kilgours' interest in immediacy and a strong vibe, applied to catchy melodies. "Each album is a completely different beast," Robert says. "We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all." But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.

The Impossible Kid

Green & Pink Neon Colored Vinyl

Custom Die Cut Jacket

3' x 4' Double Sided Fold Out Poster

Two Illustrated Record Sleeves

Indie-rap mainstay Aesop Rock has announced his new album, The Impossible Kid, dropping April 29th on Rhymesayers Entertainment, marking his first solo venture since 2012's Skelethon. On the new album, Aesop continues finding new ways to improve on the skills that have made him one of the kings of indie hip-hop. His creative process now includes a newfound willingness to open up about his personal life, going deep on topics like depression, his sometimes rocky relationship with his family, and the turbulent handful of years that culminated in Aesop leaving his adopted home of San Francisco to live in a barn out in the woods, where he recorded the foundations of The Impossible Kid. There's also moments of levity though, as Aesop taps into the funny side of his persona that he suppressed during the period where being taken as a serious lyricist was more of a priority. Like Skelethon, Aesop exercised complete creative control over every aspect of the album, from the production (which he handled himself, with instrumental help from Philly's Grimace Federation) to conceptualizing the cover art by his friend Alex Pardee.

Though it's been four years since his last solo album, Aesop has maintained an impressive creative streak, releasing collaborative albums with Kimya Dawson (The Uncluded's Hokey Fright in 2013), with Rob Sonic (Hail Mary Mallon's Bestiary in 2014), and with Homeboy Sandman (LICE's self-titled EP in 2015). He's also been actively crafting beats. Recent projects include producing the 32+ minute instrumental mix, The Blob, working together with Nike to provide the music for a series of their skateboarding videos, and producing the soundtrack for the upcoming film Bushwick, starring Dave Bautista and Brittany Snow.

He's also started skateboarding and drawing again, which were his big passions before his hobby of making rap songs turned into a paying gig that evolved into an accidental 20-year long career, taking him from making beats in his bedroom to playing for crowds thousands deep. Going back to his roots has proven useful in processing everything that's happened in his life over the past couple decades, and maybe to figure out the person he's become: The Impossible Kid, a person who's spent his life doing things that seemed unthinkable before he just went and did them, blazing a visionary trail all his own. Two decades in, he's still out there pushing it forward.

Breakfast At Tiffany's (Speakers Corner)

Long nights, dizzy parties, a variety of men-friends, and breakfast standing before the window display of the famed jewellery company govern the life of the dazzling Holly Golightly, who has in reality a very ordinary name and poverty-stricken background. All the more rich is the musical carpet that Henry Mancini lays beneath the feet of the exotic, wealthy-husband-seeking socialite. The tender, plaintive worldwide hit Moon River apart, Mancini and his Hollywood musicians mix a sugar-sweet sound with enough acrid elements to glaze over the capricious lady's character. The cool big band sound is spiced with a bold trumpet solo (The Big Blow Out) and mellow violins with a suspiciously tame male choir (Breakfast At Tiffany's). As is well known, there is a great deal of dancing in the film, including a number with a Latin-American rhythm (Latin Golightly), and a grooving mambo (Loose Caboose). At the end of the film even the Moon River swells to become a bubbling cha-cha, as though to say that a 'happy end' must in no way sound sentimental.

A further Mancini mix -The Pink Panther soundtrack (RCA LSP 2795) - is also available from Speakers Corner.

Musicians:

Henry Mancini (arranger, conductor, p) & orchestra

Recording: 1961

Production: Dick Pierce

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

Stage Fright

Record Shivers With Raw Emotions, Dark Confessionals, and Intense Singing

Half-Speed Mastered from the Original Analog Tapes: Transcendent Sound

A sharp stylistic and thematic detour away from its first two albums, the Band's Stage Fright is a compelling snapshot of a group coping with massive success and internal changes. Recorded in 1970 at the Woodstock Playhouse, the set shivers with raw emotions, dark confessionals, and intense singing. Largely devoid of the quintet's trademark all-for-one harmony vocals, Stage Fright is an utterly distinctive piece of the Band's catalog-and a historic landmark that's a necessary part of any music collection.

"When Stage Fright came about, all I was doing was feeling my way along. But, where everybody was in a huddle on both Big Pink and The Band, with Stage Fright it didn't feel like we were all connected in the same kind of way. In this period of experimentation in life, in music, in drugs, people kept wanting to stretch and reach and go somewhere and try things and, in the course of that, some real alienation can take place as well. When these things are chemically induced, you can feel an incredible shutdown of communication." -guitarist Robbie Robertson, as told to Rob Bowman

Such splintered camaraderie and personal demons appear in now-famous songs such as the title track, "The Shape I'm In," and "The W.S. Walcott Medicine Show." The music is rife with palpable tension, and as a credit to the Band's unique sound, absolutely singular. It's impossible to think of any other group playing these tunes. Robertson's balladic ode to his daughter, "All La Glory," featuring a gorgeous vocal turn from Levon Helm, provides a sunny contrast to the darker compositions.

Circumstances behind the recording sessions also reflected the mood. While the Band had intended to capture the album in one take in front of a small crowd at the theater, the town residents vetoed the idea due to concerns over being inundated by too many visitors. Consequently, the Band played to an audience of no one, sometimes with the curtains closed and other times, with them open. Todd Rundgren, who engineered the album, couldn't even see what was going on-he was sitting in a canvas prop tent that became the control room, behind the theater.

As always, Mobile Fidelity half-speed mastered this numbered limited-edition 180g LP from the original master tapes for a superior sonic experience. This analog edition of Stage Fright bursts with supreme tonal clarity and an airiness that brings the genius of Rundgren's preservation of high frequencies to complete realization. Even the fine textures of the hand drums on the stunning "Daniel and the Sacred Harp" come to light with microscopic detail. Perfectly blended, MoFi's Stage Fright takes its place as the most balanced and punchy record in the Band's oeuvre.

Stage Fright is part of Mobile Fidelity's effort to present the Band's timeless music in the highest fidelity possible.

Reworks

With its distinctive renditions of songs by DJ Shadow, My BloodyValentine, Fleet Foxes, and more, Walt Wagner's Reworks shows howthree Seattle institutions - Wagner, the city's renowned Canlisrestaurant, and Sub Pop Records - have evolved over the years. Whenveteran pianist Wagner first landed at Canlis in 1996, he started outperforming a set heavy on the Great American Songbook and theoccasional pop tune. As young staff members recommended newartists and songs, Wagner's repertoire grew deeper and more varied -especially after the next generation of the Canlis family took over in2003. Yet whether the source material was Pink Floyd, Prince,Metallica, or the Weeknd, the challenge remained the same: "To distillthe vibe on a record, the very essence of a song, into solo pianoplaying."

One fateful night a couple years ago, a crew from Sub Pop were diningat the restaurant when they recognized melodies by Adele and DaftPunk wafting through the restaurant and decided to investigate. Canlisco-owner Mark Canlis offered the Sub Pop crew a full tour, and whenhe pulled out a vintage copy of the '60s LP Live At Canlis, an idea wasborn. With Wagner preparing to retire, the time was ripe for a recordingthat captured his inimitable gifts in their natural surroundings.

In preparation for the big night, Wagner sat down with the Sub Popteam for more ideas. "I wanted them to feed me tunes that they lovedand could imagine hearing me play." Sub Pop alumni Fleet Foxes andBand of Horses were already staples of Wagner's sets, but what magiccould he work with DJ Shadow, Phoenix, or My Bloody Valentine? Hehad three months to find out.

The album's opening selection, "Building Steam with a Grain of Salt,"provides a glimpse into Wagner's modus operandi. "The first time Ilistened to it, I said 'well what can I do with that?'" He recalls. "Butthe more I listened, the more I noticed these signature moments in thesong, and through messing around with those and improvisation, Iended up with my version."

Recorded before a packed house on October 9, 2016, Reworks is morethan just a souvenir of a very special evening; it captures decades ofmusicianship that forged Wagner's distinctive style. He studiedclassical piano throughout his youth, yet kept his playing secret untilhe'd reached his teens, when he began playing in rock bands.

While learning to improvise and play more rhythmically made him a hitwith his peers, his classical instruction made his band the Exoticsespecially popular with local bookers. "We were one of the only bandsthat could read music, so we accompanied different stars of the time:Dick and Dee Dee, Johnny Crawford, all these '50s and early '60sartists that came to town." The Exotics even cut a single, a Wagneroriginal entitled "Oasis," that made it to #3 on local radio station KJRin the summer of 1961.

In the years that followed, Wagner played at downtown Seattlewatering holes and eateries and refined his jazz chops. Two decades atCanlis taught him to interact with listeners in a whole new way. Andnow, flush with excitement over Reworks, Wagner may not stay retiredfor long.

1. Building Steam With a Grain of Salt (DJ Shadow)2. I Only Said (My Bloody Valentine)3. Desiree (The Left Banke)4. Mykonos (Fleet Foxes)5. 1901 (Phoenix)6. Bondye (Goat)7. No One's Gonna Love You (Band of Horses)8. Purple Rain (Prince)9. The Funeral (Band of Horses)10. Ever Fallen In Love (Buzzcocks)

Hurry Up, We're Dreaming (Colored Vinyl)

With these soft spoken words on the simply-titled opening track-"Intro"- M83 mastermind Anthony Gonzalez introduces us to his sixth record and first double disc album, Hurry Up, We're Dreaming.

Dauntlessly singing into the void that was left behind since Saturdays=Youth, Gonzalez suddenly surges with overwhelming emotion as the music mounts an invisible precipice. Historically, he softly eased you into his world, introducing you to the lush and radiant spaces between captivating melodies and intimate lyrics, but not this time. Not on this record.

Graduating from the fuzzy, fumbling emotional cobwebs and draped ambiance of past records, Hurry Up, We're Dreaming careens past its audience. Brazenly stretching out along the horizon, spilling glittery, golden arms of sound across the landscape, it holds your breath hostage without you even noticing you were missing it. If it seemed that Anthony was basking in the sunshine-drenched days of his youth when he released Saturdays in 2008, then it can be said that in 2011, at the age of 30, he is tempestuously charging towards his future with Hurry Up, We're Dreaming.

Relocating to Los Angeles from Antibes, Gonzalez surrounded himself with players pivotal to completing his childhood dream of a double disc record. Producer Justin Meldal-Johnsen (Beck, NIN, The Mars Volta, Goldfrapp) and guitarist Brad Laner (from 90s band Medicine) had been hugely influential on Anthony growing up and now were central to the new record's creation.

"In France there is this show on TV where at the end there is a musical guest who plays one or two songs. I remember one night when I was a teenager being at home watching the best of performances and looking at this crazy bass player with a big afro and thinking, 'Wow this guy is so cool.' "And now I am working with him. It's so intense that thinking about it makes me feel weird. But it's weird in a super good way. Same thing with Brad, I was listening to his music when I was first getting into music and now he's on my album."

Anthony and Justin met backstage in 2009 at Scotland's T In The Park. Later, "he came to me very genuinely stating that 'he was a fan and that he would love to work with me,'" explains Gonzalez. "I love when people do that because I can tell it's coming from the heart. He was sincere and that's the way I like to work with people."

Stepping away from his work with producers Ken Thomas and Ewan Pearson on Saturday, Gonzalez freckles his new chapter with signature M83 fingerprints while pushing himself beyond the constricting emotions of a guarded musician. Bored with being frustrated and shy, Anthony is respectful of the precious time given to him and doesn't want to leave behind any regrets, thus thrusting himself into the spotlight vocally. He tests out different ways of singing, ranging from a spectral breathy whisper to a howling scream, and each voice clings to us like a dew-heavy spider web at dawn.

Fans will recognize band member Morgan Kibby, her vocals flirting with the shadowy places in between verses, leaping off the record in spoken word or blending with an adult choir. Morgan will join Anthony on tour but she was never meant to sing as much on this record as she had on pervious projects. Quenching his desire to work with a different person on each record, Gonzalez added LA-based chanteuse Zola Jesus to the mix for the completion of "Intro." "The song was already written but I really wanted a female vocal on it and I was kind of struggling to find the right person, but then I heard her music and it just made sense."

Where Saturday=Youth is drenched in lustful exploration and hungry adolescent wonder, Hurry Up is decadently cunning and seductive. "Intro" and "My tears are becoming a sea" eerily croon to you, swirling all of the glitter and growth from the past records into an epic swell, mysteriously and dramatically warning you of the impact you are about to experience. "Midnight City" (disc one) and "OK Pal" (disc two) are humid, adrenaline driven dreams unlike anything we have heard from M83 in the past. "Midnight City" adeptly sweeps you through abandoned concrete streets swimming in broken neon light and aggressively pushing and pulsating to synthetic beats. While "OK Pal" catcalls you to a locker full of mapped out Peter Gabriel-esque echoing lyrics, leaving you stranded in a post-apocalyptic landscape. These journeys are about awakening, craving and conquering. Throughout Hurry Up, We're Dreaming Anthony carries the listener to different countries of sound in his own universe, "We didn't need a story, we didn't need a real world. We just had to keep walking and we became the stories- we became the places." Drifting away from his previous records and reigned in politeness he unleashes all that he has been dreaming of and yearning for. Even when he takes a second to look back on "Echoes of Mine" the velvety, elderly voice of a woman heartbreakingly tells the story of a girl drenched in the shadows of her youth, knowing she has to grow up.

Grandiose in scale and inspired by Smashing Pumpkin's revered double disc Melancholy & The Infinite Sadness, Anthony has long had the goal to create his own monumental double disc record. "I saw when I was a teenager that I could dig into it [the album]. It was like a treasure. If I were a teenager nowadays I would try to find something as creative as this album. They had so much to say in their songs."

Impressed with the juxtaposing sun and moon artwork featured on Melancholy, Anthony focuses in on another natural duality: siblings. The cover artwork mirrors this relationship, featuring a photograph of a little boy with a little girl sitting on a bed. The photograph perpetuates the conversation for the two distinct voices we behind each disc, representing two sides of an overall piece that are almost the same. "I want people to listen to it as two different human beings that are connected somehow, but every song on the album has a secret on the other side."

Soaring and scraping up against the sky while sharing each uncharted frontier with new collaborators is what M83 does best. Gracefully coming into the next decade of his life, Anthony delivers what makes each record sincere, innocent, and full of joy: he gives us his past and his future.

"I think it is a reflection of my 30 years of being a human being. It's a compilation of all my previous music together. It's a retrospective of myself."

Tomorrow Is My Turn

Rhiannon Giddens, singer, songwriter, multi-instrumentalist, and founding member of Grammy Award-winning Carolina Chocolate Drops, makes her solo recording debut with Tomorrow Is My Turn, due out on Nonesuch Records. (The vinyl will follow on March 3.) The album was produced by T Bone Burnett.

Burnett first worked with Giddens when she performed last fall at a concert he curated at New York City's Town Hall that was later broadcast on Showtime: Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis." Backstage, Burnett was immediately moved to ask if he could produce a record with her. "It was clear the first time I heard her at rehearsal that Rhiannon is next in a long line of singers that include Marian Anderson, Odetta, Mahalia Jackson, Rosetta Tharpe," Burnett says. "We need that person in our culture."

For her first solo disc, Giddens chose a broad range of songs from genres as diverse as gospel, jazz, blues, and country. In addition to the traditional "Black Is the Color," tracks include Hank Cochran's "She's Got You," made famous by Patsy Cline; Dolly Parton's "Don't Let It Trouble Your Mind"; "O Love Is Teasin'," popularized by the Kentucky-reared "mother of folk" Jean Ritchie; and Elizabeth Cotton's "Shake Sugaree."

"I had already started putting together a list of songs that didn't really fit into the Chocolate Drops world," Giddens explains. "At the top was 'Tomorrow Is My Turn' [immortalized by Nina Simone]. Seeing Nina do it on YouTube was revelatory. I knew she'd gone through a lot of hard times, as so many people did in that time period. Watching her sing this song, with the words 'tomorrow is my turn,' I began to think about the struggle of her and women like her." The significance of this song led Giddens to make it the title of the album as well. "Other songs started getting on my list and they were all by women or interpreted by women," she says.

Tomorrow Is My Turn follows Giddens' work with Elvis Costello, Taylor Goldsmith, Jim James, and Marcus Mumford on Lost On The River: The New Basement Tapes, an album also produced by Burnett that was released in November 2014. Her contribution was hailed by Rolling Stone magazine as the "showstopper evoking antebellum blues with a magnificent voice that interrogates the myths stirred up at Big Pink." The New York Times agreed, saying "On lead vocals she's the album's revelation, singing melodies that hark back to Celtic modes with a decisive presence and a haunting grace."

Compiled from meticulously restored original tapes - many found only recently - this three-LP set includes 38 highlights of Dylan's legendary 1967 recording sessions with members of his touring ensemble who would later achieve their own fame as The Band.

Among Bob Dylan's many cultural milestones, the legendary Basement Tapes have long fascinated and enticed successive generations of musicians, fans and cultural critics alike. Having transformed music and culture during the early 1960s, Dylan reached unparalleled heights across 1965 and 1966 through the release of three historic albums, the groundbreaking watershed single ''Like A Rolling Stone,'' a controversial and legendary 'electric' performance at the 1965 Newport Folk Festival and wildly polarizing tours of the United States, Europe and the United Kingdom. Dylan's mercurial rise and prodigious outpouring of work during that decade came to an abrupt halt in July 1966 when he was reported to have been in a serious motorcycle accident in upstate New York.

Recovering from his injuries and away from the public eye for the first time in years, Dylan ensconced himself, along with Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson and, later, Levon Helm, in the basement of a small house, dubbed ''Big Pink'' by the group, in West Saugerties, New York. This collective, which would come to be known as Bob Dylan and The Band, recorded more than a hundred songs over the next several months including traditional covers, wry and humorous ditties, off-the cuff performances and, most important, dozens of newly-written Bob Dylan songs, including future classics ''I Shall Be Released,'' ''The Mighty Quinn,'' ''This Wheel's On Fire'' and ''You Ain't Going Nowhere.''

When rumors and rare acetates of some of these recordings began surfacing, it created a curiosity strong enough to fuel an entirely new segment of the music business: the bootleg record. In 1969, an album mysteriously titled Great White Wonder began showing up in record shops around the country, and Dylan's music from the summer of 1967 began seeping into the fabric of popular culture, penetrating the souls of music lovers everywhere. With each passing year, more and more fans sought out this rare contraband, desperate to hear this new music from the legendary Bob Dylan.

The actual recordings, however, remained commercially unavailable until 1975, when Columbia Records released a scant 16 of them on The Basement Tapes album (that album also included eight new songs by The Band, without Dylan).

A critical and popular success, The Basement Tapes went Top 10 in the US and UK, with John Rockwell, of The New York Times, calling it ''one of the greatest albums in the history of American popular music,'' Paul Nelson, in Rolling Stone, praising the tracks as ''the hardest, toughest, sweetest, saddest, funniest, wisest songs I know'' and the Washington Post noting that ''...Dylan has to rank as the single greatest artist modern American pop music has produced.'' Robert Christgau gave the album an A+ rating in the Village Voice, where it topped the annual Pazz & Jop Critics Poll.

Musicians:

Bob Dylan

Robbie Robertson

Rick Danko

Richard Manuel

Garth Hudson

Levon Helm

(Lead vocals are sung by Bob Dylan. Harmony and instrumentation are unknown because all involved were multi-instrumentalists and vocalists, and no records remain.)

Dark Age (Out of Stock)

Dark Age, the second album from Mothlite (Daniel O'Sullivan - Ulver) Mothlite is the brainchild of Daniel O'Sullivan. A prolific composer and multi-instrumentalist, O'Sullivan is a member of Ulver and a regular collaborator with Sunn O))), Guapo, Æthenor, Miracle and Grumbling Fur.

Mothlite allows him to move in different musical directions to those taken by his other projects,recalling the deepest remnants of 80's sounds (Talk Talk, Japan, Cocteau Twins) and fusing itwith an innovative, forward-thinking approach to programming and sound design. The resultis a grandiose gothic-pop euphoria that retains a subliminally progressive musical depth andO'Sullivan's songwriting collaborations with The Big Pink and Ulver are apparent in Mothlite'skeen sense of production and lush atmospheric arrangements.

Mothlite transcend any obvious reference point and follow a most novel path of paradoxes. Love, death, death of love, self-loathing, megalomania. All dipped in a thick treacly molasses of ecstatic melody.

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